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西文書目 Anderson, Ben, 2018, “Cultural geography II: The force of representations.” Progress in Human Geography 38(5):691-702. Anderson, Kay and Smith, Susan J., 2001,” Editorial: Emotional geographies.” Transactions of the Institute of British Geographers 26(1):7-10. Aroles, Jeremy and McLean, Christine, 2019, “Smoothing, striating and territorializing: The assembling of ‘science in the making.” Ethnography.1-20. Baxandall, Michael, 1972, Painting and Experience in Fifteenth Century Italy. Oxford: Oxford University Press. Beaulieu, Anne, 2010,” From co-location to co-presence: Shifts in the use of ethnography for the study of knowledge.” Social Studies of Science 40(3):453-470. Becker, Howard, 1982 [1976], Art Worlds. Berkeley California: University of California Press. Bippus, Elke, 2013, “Artistic experiment as research.” Pp.121-134 in Experimental Systems: Future Knowledge in Artistic Research, edited by Michael Schwab. Leuven: Leuven University Press. Borkenhagen, Chad, 2017, “Evidence-based creativity: Working between art and science in the field of fine dining.” Social Studies of Science 47(5):630-654. Broeckmann, Andreas, 2016, Machine Art in the Twentieth Century. Cambridge, MA: The MIT Press. Buren, Daniel and Repensek, Thomas, 1979, “The function of the studio.” October (10): 51-58 Butler, Toby, 2006, “A walk of art: The potential of the sound walk as practice in cultural geography. “Social and Cultural Geography.7(6):889-908. Callon, Michel, 1986,” Some elements of a sociology of translation: domestication of the scallops and the fishermen of St Brieuc Bay.” Pp.19-34 in Power, Action, Belief, edited by John Law. London: Routledge and Kegan. Callon Michel, 1986, “The Sociology of an Actor-Network: The case of the Electric Vehicle.” Pp.19-34 in Mapping the Dynamics of Science and Technology, edited by Michel Callon, John Law, Arie Rip. London: Palgrave Macmillan. Callon, Michel ,1999,” Some elements of a sociology of translation: Domestication of the scallops and the fishermen of St Brieuc Bay. “Pp.67-83 in The Science Studies Reader, edited by Mario Biagioli. New York and London: Routledge. Cant, Sarah and Morris, Nina, 2006,” Geographies of art and the environment.” Social & Cultural Geography 7(6):857-861. Carr, Chantel and Gibson, Chris, 2016, “Geographies of making: Rethinking materials and skills for volatile futures.” Progress in Human Geography 40(3):297-315. Carr, Chantel and Gibson,Chris, 2017, “Animating geographies of making: Embodied slow scholarship for participant‐researchers of maker cultures and material work.” Geography Compass 11(6). Crawford, Matthew, 2009, Shop Class as Soul Craft: An Enquiry into the Value of Work. New York: Penguin. Crouch, David, 2003, “Spacing, performing, and becoming: Tangles in the mundane.” Environment and Planning A: Economy and Space 35(11):1945-1960. Daniels, Stephen, 2004, “Landscape and art.” Pp. 430–446 in A Companion to Cultural Geography, edited by James S. Duncan Nuala C. Johnson and Richard H. Schein. Oxford: Blackwell. Danto, Arthur, 1964, “The Artistic Enfranchisement of Real Objects: The Artworld” Journal of Philosophy 61: 571-584. Dickie, Georges, 1969, “Defining Art American.” Philosophical Quarterly 6: 253-6. Dixon, Deborah, 2009,” Creating the semi-living: On politics, aesthetics and the more-than-human.” Transactions of the Institute of British Geographers 34: 411-425. Ellis, Carolyn, Adams, Tony E., and Bochner, Arhtur P., 2011,” Autoethnography: an overview.” Historical Social Research 36(4): 273-290. Gell, Alfred, 1998, Art and Agency, Oxford: Oxford University Press. Gillian, Rose, 2015, “Rethinking the geographies of cultural ‘objects’ through digital technologies: Interface, network and friction.” Progress in Human Geography 40(3):334-351. Halsall, Francis, 2016, “Actor-Network aesthetics: The conceptual rhymes of Bruno Latour and contemporary Art.” New Literary History 47(2):439-461. Harman, Graham, 2018, Object-Oriented Ontology: A New Theory of Everything. London: Pelican Books. Hawkins, Harriet, 2010, “‘The argument of the eye’? The cultural geographies of installation art.” Cultural Geographies 17(3):321-340. Hawkins, Harriet, 2011, “Dialogues and doings: Sketching the relationships between geography and art.” Geography Compass 5(7):464–478. Hawkins, Harriet, 2012, “Geography and art. An expanding field: Site, the body and practice.” Progress in Human Geography 37(1): 52-71. Hawkins, Harriet, 2019, “Geography’s creative (re)turn: Toward a critical framework.” Progress in Human Geography 43(6):963-984. Hawkins, Harriet and Price, Laura, 2018, “Toward the geographies of making: An introduction.” Pp.1-30 in Geographies of Making, Craft and Creativity, edited by Harriet Hawkins and Laura Price. London: Routledge. Holmes, Helen, 2016, “Transient productions; enduring encounters: The crafting of bodies and friendships in the hair salon.” Pp.127-143. in Geographies of Making, Craft and Creativity, edited by Harriet Hawkins and Laura Price. London: Routledge. Ingold, Tim, 2013, Making: Anthropology, Archeology, Art and Architecture. London: Routledge. Kwon, Miwon, 2002, One Place After Another: Site-specific Art and Locational Identity. Cambridge, MA: The MIT Press. Latour, Bruno, 1987, Science in Action: How to Follow Scientists and Engineers Through Society. Milton Keynes: Open University Press. Latour, Bruno, 1999, Pandora's Hope: Essays on the Reality of Science Studies. Cambridge, MA: Harvard University Press. Latour, Bruno, 2005, Reassembling the Social: An Introduction to Actor-Network-Theory. Oxford: Oxford University Press. Law, John, 2012 [1987] [1992], “Technology and heterogeneous engineering: The case of Portuguese expansion.” Pp.111-134 in The Social Construction of Technological Systems: New Directions in the Sociology and History of Technology, edited by Wiebe Bijker, Thomas Hughes and Trevor Pinch. Cambridge, MA: The MIT Press. MacKenzie, Donald and Judy Wajcman, 1985, The Social Shaping of Technology. Milton Keynes: Open University Press. McMorran, Chris, 2012, Practicing workplace geographies: Embodied labour as method in human geography. Area 44:489–495. Morris, Nina and Cant, Sarah, 2006, “Engaging with place: artists, site-specificity and the Hebden Bridge Sculpture Trail. “Social & Cultural Geography 7(6): 863-888. Norris, Lucy, 2012,” Shoddy Rags and Relief Blankets: Perceptions of textile recycling in north India.” Pp.35-38.in Economies of Recycling: The Global Transformation of Materials, Values and Social Relations, edited by Catherine Alexander and Joshua Reno. London: Zed books. O'Doherty, Brian, 1999, Inside the White Cube: The Ideology of the Gallery Space, Expanded Edition. Berkeley: University of California Press. Ocejo, Richard E., 2016, “The science and the art of making.’’ Pp.108-126 in Geographies of Making, Craft and Creativity, edited by Harriet Hawkins and Laura Price. London: Routledge. Pickering, Andrew, 2012,” The Robustness of science and the dance of agency.” Pp.317-327 in Characterizing the Robustness of Science: After the Practice Turn in Philosophy of Science, edited by Léna Soler, Emiliano Trizio, Thomas Nickles and William Wimsatt. Pickering, Andrew, 2016, “Art, science and experiment.” Journal of Fine Art Research 1(1): 1–6. Pile, Steve, 2010, “Emotions and affect in recent human geography.” Transactions of the Institute of British Geographers 35(1):5-20. Schwab, Michael, 2015,” Experiment! Towards an artistic epistemology. ”Journal of Visual Art Practice 14(2): 120-131. Shiner, Larry, 2001, The Invention of Art: A Cultural History. Chicago: University of Chicago Press. Sjoholm, Jenny, 2016, ”Making bodies, making space and making memory in artistic practice.” Pp.31-43 in Geographies of Making, Craft and Creativity, edited by Harriet Hawkins and Laura Price. London: Routledge. Straughan, Elizabeth, 2016, “Entangled corporeality in the making of taxidermy.” Pp.144-157. in Geographies of Making, Craft and Creativity, edited by Harriet Hawkins and Laura Price. London: Routledge. Tanner, Jeremy, 2010,” Michael Baxandall and the sociological interpretation of art.” Cultural Sociology 4(2), 231-256. Yaneva, Albena, 2003,” Chalk steps on the museum floor: The “Pulses” of objects in an art installation. In Actor-Network Theory Research: Four Volume Set, edited by Richie Nimmo. London: Sage Publications. 中文書目 Boris, Groys 著、郭昭蘭、劉文坤譯,2015,《藝術力》。台北:藝術家。(Boris, Groys, 2008, Art Power. Cambridge, MA: The MIT Press.) Bourdieu, Pierre 著、石武耕、李沅洳、陳羚芝譯,2016,《藝術的法則:文學場域的生成與結構》。台北:典藏藝術家庭。(Bourdieu, Pierre,1992, Les règles de l’art- genèse et structure du champ littéraire. Paris: Éditions Du Seui) Danto, Arthur 著、林雅琪、鄭惠雯譯,2010,《在藝術終結之後:當代藝術與歷史藩籬》。台北:麥田。(Danto, Arthur, 1997, After the end of Art: Contemporary Art and the Pale of History. Princeton, NJ: Princeton University Press.) Egerton, David 著、李尚仁譯,2016,《老科技的全球史》台北:左岸文化。(Egerton, David, 2006, The Shock of the Old: Technology and Global History since 1900. New York: Oxford University Press.) Latour, Bruno著、伍啟鴻、陳榮泰譯,2016,《巴斯德的實驗室:細菌的戰爭與和平》台北:群學。(Latour, Bruno, 1984, Pasteur: guerre et paix des microbes.)。 Latour, Bruno著、余曉嵐、林文源、許全義譯,2012,《我們從未現代過》台北:群學。(Latour, Bruno, 1993, We Have Never Been Modern. Cambridge, MA.: Harvard University Press.) Zielinski, Siegfried著、榮震華譯,2006,《媒體考古學》北京:商務新知譯叢。(Zielinski, Siegfried, 2002, Archäologie der Medien: Zur Tiefenzeit des technischen Hörens und Sehens. Berlin :Rowohlt Taschenbuch Verlag.) 王聖閎,2010,〈台灣當代藝術摘要2000-2010(五):藝術世界、藝術體制理論〉。《藝外雜誌4月專輯:台灣當代藝術摘要2000~2010 (五)》第31期:36-39 辛友仁,2019,〈對展覽及其方法的思考:「邁向一個神秘的現實」的展覽論述/空間/時間〉。《在當代之後:春之當代藝論2017-2018》。台北:典藏藝術家庭。 余瓊宜,2011,〈數位藝術中的新與舊〉。《國立臺北藝術大學美術學報》4:219-234 洪廣冀,2016,〈科技研究中的地理轉向及其在地理學中的迴響〉。《地理學報》83: 23-69。 許嘉猷,2004,〈布爾迪厄論西方純美學與藝術場域的自主化──藝術社會學之凝視〉。《歐美研究》34(3):357-429。 高千惠,2017,〈資訊年代的新科層藝術社會 ─ 檔案做為藝術,或是訊息做為沉思?〉。《典藏Artouch》。民國106年1月12日,取自https://artouch.com/view/content-1931.html 雷祥麟,2004,〈校訂後記:翻譯拉圖的「轉譯」〉,收錄於台灣科技與社會網絡計畫著,吳嘉苓、傅大為、雷祥麟編輯《STS讀本——科技渴望社會》。台北:群學。 賴彥甫,2015,〈展演「C/娘」的音樂文化:台北同志夜店G*Star的Asian Pop與男同志身份的建構〉。《女學學誌》37: 93-134
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